[中][ENG]人間晚晴何處有 懷民雲門此中尋
1. 林懷民攝於淡水雲門劇場日光平台上。
Lin Hwai-Min at the Sunbeam Platform.
攝影Photo Credit: 劉振祥 Liu Chen-hsiang
沿著淡水河畔步道邊走邊談，林懷民很明確地說出他現時的心境﹕「爭取盡快退休，應是我目前最大心願。這並不存在接班人的問題，基本上來說雲門從前年12月29日在八里那邊將所有東西裝好，再運到淡水這邊新的雲門劇場，到去年1月4日，大家正式在辦公桌上放上名牌工作，到今天剛好是一年。當時除了第一個月有點亂，很快一切都已踏入軌道，我們的團隊真的很利害，我今年已六十九歲，中國人的算法甚至可說已是七十歲了，體能健康狀況，自己是知道的，應放手讓他們來做了。當然我是明白的，我能早一點退，還可用顧問的身份，發揮一些作用，越遲退能發揮的作用便越少了。」
Walking along the Tamsui River in Tamsui district in New Taiwan City with Lin Hwai-min, the founder of Cloud Gate Dance Theatre of Taiwan, Lin comments “My wish is to retire now. It is not a matter of finding the perfect successor. Our team is really brilliant, a year has passed since the move from Bali to Tasmsui, where the Cloud Gate Theater was completed on 29 December 2014 and everyone officially started to work on 4 January 2015. Apart from chaos in the first month, everything ever since has run smoothly. I’m sixty-nine years old now, but according to the ancient Chinese calendar, it could be said that I'm seventy years old this year. I’m fully aware of my physical capacity. It is about time for me to let go and allow others to take over. Indeed, I wish this day would come sooner rather than later - even after I retire, I can continue to work as a consultant for the company - but the later I step down the less I can do.”
退休洗碗和搞舞目的
Cleaning and Dancing
退休後最想做的事情是甚麼呢？
作為雲門舞集的創辦人、靈魂人物，現時的藝術總監林懷民這樣說﹕「說真的，我最希望是能留在家裏洗碗呀！那是我三十五歲那年才領悟到的事；因為洗碗是我一個人便能完成的事，而且是馬上便以看得出來，我是擦得乾乾淨淨的，是能夠做到最好的；再有空的時候，我就希望能夠擦地板，也是我一個人便可以將地板擦得乾乾淨淨，做得最好。那和搞舞蹈會很不一樣，舞蹈我一個人做不來，也難做得最好。」
但大家都知道「林懷民」這個名字，幾乎便是「台灣舞蹈」的代名詞，搞舞蹈應是他人生中最重要的事情啊！剛於去年落成啟用的雲門劇場，更應是他現時最關心，甚至是退休後仍不易放下的事呀！
林懷民望著淡水河對岸在黃昏後漸漸出現的點點暗淡燈光，那曾是雲門舞集的家所在的八里，語調平靜且平緩地說﹕「對！雲門劇場的落成，應是我舞蹈生涯中的一個成果，但和我從事舞蹈藝術一樣，那祇是一個手段，來作為與社會溝通的橋樑，我祇是橋樑的一口螺絲釘。如果舞蹈的目的祇是藝術的追求，那麼，我很早便答應去歐洲做藝術總監，歐洲的社會很明顯地更適合我去追求舞蹈的藝術，歐洲的土壤確是很不一樣，但那並非我的目的啊！我去了歐洲或許在舞蹈的藝術上會很有成果，但離開了我生長的土壤，便完全達不到我的目的了！」
What does Lin Hwai-min want to do most in retirement?
The founder and Artistic Director of Cloud Gate Dance Theatre, as well as the soul of the Company, Lin Hwai-min comments, “To be honest, I’d like to stay home and wash dishes! Something I realized when I was thirty-five is that dishwashing is a solitary activity where you can see the results of your hard work immediately, and if that doesn’t take up all my time, I’ll mop the floor as well. Like washing dishes, polishing the floor to tip-top shape can be done alone, single-handedly. It’s different from making a dance work, which I cannot do alone – in dance it’s hard to achieve the best results alone.”
No one can deny that the name – ‘Lin Hwai-min’ could be a synonym for ‘Dance in Taiwan’. Hence, making dance must be the most important thing in Lin’s life! His utmost concern nowadays and perhaps even after his retirement, one can imagine, must be the newly inaugurated Cloud Gate Theater.
Lin gazes across to the Bali district on the opposite bank of the Tamsui where the Company previously had its home at the dim lights beginning to appear at dusk. He calmly says, “The vision of Cloud Gate Theater is to serve as a bridge to connect art and society, and I think of myself as one of the bolts of this bridge. In the early days, I realized that perhaps I could achieve the greatest success in dance by going to Europe, but once I left the soil of my hometown, I wouldn’t be able to achieve this goal.” In Lin’s view, besides aesthetic achievement, it is important for a dancer to have a wider perspective on dance, to additionally think about the function of dance in society.
接通社會得道者多助
Connecting Society
很顯然地林懷民作為一個舞者所追求的，是較舞蹈藝術更廣、更闊的，是舞蹈在社會上所發揮的功能，亦正是雲門舞集不時會舉辦有數以萬計、甚至十萬計觀眾的戶外大型演出的其中一個原因。一般人都會認為這是普及舞蹈藝術的策略，但林懷民看得更深切些，他說﹕「這些大型戶外演出，難度更大，挑戰更大，原因是有各種不同觀眾，大多反應直接，祇能將最好的表演拿出來，讓每一個人都被吸引，全神定睛觀看才成，不然很快氣氛便會散亂，所以做戶外大型演出要花更大的精力，演出的要求會更高；但亦因為這樣，雲門的橋樑才能接通社會，今日雲門劇場能夠成為事實，便是因為雲門接通了社會，得到了社會各方的回報，社會上有很多人支持，那可不是我一個人可以做得成的事。」
確實，現時在淡水的雲門劇場，是2009年採用「促參法」（促進民間參與公共建設法），與台北縣政府（今新北市政府）簽約，由政府無償付出土地，「雲門」出資興建，每年由「雲門」交付一定的租金給政府，換取的是四十年園區的營運權，期滿後可再續十年的方式。「促參法」原是為民間企業投資興建公共建設而設，其中制訂了限制、評估、審議等條文來防止弊端，並非是協助藝文團體的法案。雲門應是台灣首個採用此法案取得官家土地使用權的藝文團體，劇場落成後在此法案的轄制下能否成功運作，是讓人懸念之事，但興建過程已遇上不少問題。
不過，林懷民回憶這個過程已很心平氣和，他憶述著說：「2008年的2月11日，農曆大年初五凌晨一時許的大火吞噬了雲門位於八里烏山頭的鐵皮屋排練場，到去年4月劇場正式運作，前後經過七年多，最初以為兩三年便可將劇場蓋好。其實，那還虧雲門董事們的奔走，和找得設計師黃聲遠與田中央聯合建築師事務所的參與，才能較順利地完成。」
其實，單是要取得建築執照就用了兩年時間，要按「促參法」的法案要求來撰寫計劃、要了解法規、和政府相關單位溝通、協調，終得以正式動土，進行引水、開路，要設法解決將建材從山腳運送到小山坡的困難，還須與當地鄰里住戶、文史團體溝通等，事事都要時間。
時間以外，建費何來更為重要，對此，林懷民看似全不緊張，他說：「興建的費用便全來自社會，從各方募捐而來的，共計有6.6億台幣…..」在雲門劇場「日光平台」入口通道旁，一幅十六公尺長，帶有香氣的老檜木壁板，很工整地將4,155筆捐款的機構及個人姓名銘刻其上，變成長長一塊銘謝木壁，也就成為紀錄雲門得道者多助的印記！
Consequently, Cloud Gate Dance Theatre frequently organizes huge outdoor performances to reach out to thousands upon thousands of people. Even though most might think that organizing such large scale outdoor performances is a strategy for popularizing dance, Lin emphasizes, “To organize such performances is much more challenging and difficult than performing in the theater. Because the diverse audiences come with different expectations, their responses are more spontaneous. To capture the attention of these audiences outdoors, dancers must use a huge amount of energy to bring out their best in performance. Only because of this can the bridges of Cloud Gate connect to the society, and can Cloud Gate Theatre be possible. We received support from various sectors and many people in the society. I couldn’t have achieved such it on my own.”
In fact, the Cloud Gate Theatre development made use of the Act of Promotion of Private Participation in Infrastructure Projects (B.O.T), and signed a contract with the New Taipei City Government in 2009 that provides the right to use the public land for the running of its theater on the site for forty years with the condition that it provides its own building funds. Every year, Cloud Gate pays only a fixed amount of rent to the city government, afterward, the agreement can be renewed for another ten years. The B.O.T is designed to promote engagement in public development by private corporations; hence there are restrictive rules, evaluations, and resolutions to prevent corruption that might not be appropriate for cultural organizations. Moreover, Cloud Gate is the first cultural organization awarded this right and it is very concerned about whether it can successfully operate under these conditions since it already encountered many difficulties during the building process.
Lin recalled the background of the newly inaugurated Cloud Gate Theater Complex, “At 1am on 11 February 2008, a fire destroyed Cloud Gate Dance Theatre’s iron-roofed rehearsal studio located in the Bali district. At first, I thought it would only take three or four years to rebuild, but it turned out to be longer than I thought. It took a total of seven years for completion. Thankfully, the Cloud Gate Board of Directors appointed the architect Huang Sheng-Yuan of Fieldoffice Architects to design the complex.”
In fact, it was not anticipated that it would take two years to obtain a building permit. According to the B.O.T contract, the organization is required to provide construction documents. To do so, the Cloud Gate Theater team needed to spend time to gain a thorough understanding of the regulations in order to communicate and coordinate with relevant governmental departments. Up until its official groundbreaking, there were many logistical difficulties to resolve such as building a conveyance system for water, constructing a pathway to transport all the building materials up the hill, also communicating with local residents and the historical and cultural organizations. All these consumed time. Besides the pressure of time, in building such a theater complex, financial considerations were often a major concern, but these didn’t seem to stress Lin, he gratefully commented, “The total cost of the building of NTD$660 million came from donations from various sectors of society in Taiwan and abroad.” At the entrance of the theater there is a sixteen-meter long old Taiwan Hinoki Cypress wooden plaque named the Sunbeam Platform that is engraved with the names of the 4,155 individual and corporate donors; the fragrant wood perfumes the surroundings, while the unique board acknowledges the contributions that made the theater complex possible.
新建劇場融合老房子
An Integrated Architecture: The New Theater Merges with the Old House
雲門劇場現時所在的淡水地段（中正路一段六巷36號），沉澱著深厚的歷史，劇場的西南方，是1886年劉銘傳興建的滬尾砲台，現仍存有四台大砲；劇場後面綠草綠樹如茵，那可是已有九十七年歷史，於日治時期興建的台灣首個哥爾夫球場。至於劇場本體主要分為兩大部份，舊建築是建於1960年的中央廣播電台淡水分台的大樓，那原是冷戰時期，作為對大陸廣播的發射基地，2007年遷至淡水中正路後，該棟兩層高的老房子便成為「紀念性」的建築物。該棟房舍內部無柱阻隔，高眺四咪的空間，用作排舞正好。
不過，此兩層高的老房子已被審訂為歷史性文物建築，不能拆掉，在這種情況下林懷民便與建築設計師齊齊為新蓋的劇場想方設法，最後採用的方案，也就是現時大家見到的，將樓高六層的新劇場蓋在老房子後面，與老房子之間保留著一道頗寬敞的通道，上蓋著透光玻璃，讓外邊的陽光透入。老房子的兩層空間改建成為兩個黑盒小劇場，供排練及小型演出用，最低層（B2）是小劇場1，作為存放道具、服裝的「儲藏區」和「佈景工廠」，接待處，演職員的出入口，和辦公室； B1層則是小劇場2，三個後台化妝室及辦公室；一層是供展覽用的「藝廊」，和辦公室；二、三、四層是大劇場的舞台、觀眾席，和化妝間，四層的頂層還有靜思佛堂。
參觀當日，「藝廊」仍在展出「劉振祥的雲門風景攝影展」，展出與雲門合作了二十七年的劉振祥為雲門留下的珍貴影像，包括2008年排練場大火後全體雲門人的大合照。全天開放的是新舊建築以一木製大平台相連的「日光平台」，寬大的「日光平台」正好覆蓋在老房子之上，在大劇場內拉開布縵便是可外觀的綠色窗玻璃，能透過「日光平台」遠眺淡水河岸和對岸的八里，也就是雲門曾駐紮了十六年，已被無情之火燒掉的烏山頭的鐵皮屋排練場舊駐地。
「中廣」老房子門楣上方仍保留著「莊敬自強」字跡，那是1971年台灣退出聯合國政府提出的口號，是七、八十年代台灣公家機構常見的精神標語，留下來正好見證了那段對台灣來說並不好受的歷史。至於老房子前邊原有的大型噴水池已拆掉，變成一片傾斜有如浪湧的綠草坪，而位於老房子正門入口的三合土走道和停車場，可變身為戶外環境劇場的舞台，綠草坪便成為可讓最多1,500名觀眾蓆地而坐的觀眾席。為此，連同新建的大劇場，兩個舊房子內可供排練的小劇場，合共便有四個演出場館了。
雲門劇場的核心大劇場，雖然最多祇有450座位，但舞台區的面積卻是和台北中正紀念堂兩廳院的國家劇院同樣大小，而且擁有最新的劇場專業設備，如此設計，也就方便了在此排練或演出的製作，得以「原裝」地很容易搬演到台北的旗艦劇場了。
Cloud Gate Theater is located on a historic site in Tamsui District, New Taipei City (No. 36, Ln. 6, Sec. 1, Zhongzheng Rd.). The southwest part of the theater complex is Hobe Fort built by Liu Mingchuan in 1886, it has four remaining forts. Behind the theater is Taiwan’s first golf course built ninety-seven years ago during the Japanese colonial period. The main building is composed of two major parts – the rehearsal studio and the main theater. The rehearsal studio is converted from the former Radio Taiwan International (Tamsui quarters) built in 1960; during the cold war, it was used as the base for Broadcasting Corporation of China and in 2007, it moved to Zhongzheng Road, Tamsui District. This old two-story house is a historic building. The clean interior without any pillars and four-meter high ceiling is a most suitable space for a rehearsal studio. Given that the old house is identified as a historic site, it is protected and any reconstruction must be done in accordance with the relevant laws. Because of this circumstance, Lin and the team of architects were forced to think of another possibility to build a new theater. As a result, the six-story new theater is built behind this historic building; there is a wide corridor with sunlight shining through a transparent glass ceiling between the two buildings. The two levels of the old house have been converted into two black box theaters for small- to medium-sized performances. The lower level, where Studio Theater 1 is located, also has a multi-functional space used as storage for costumes and props, a stage scenery workshop, a reception area, the staff entrance, and offices. The higher level where Studio Theater 2 is located also contains three dressing rooms and offices. On the first floor, there is a gallery for exhibitions and offices. The second to fourth floors house the main theater, which includes the theater stage, audience seating area, and dressing rooms. On the top floor there is a meditation room.
On the day that I visited the complex, it had an exhibition in the first floor gallery entitled In Between The Moments: Cloud Gate in a Photographer’s Memory by Liu Chen-hsing (劉振祥) displaying precious photographs of Cloud Gate Dance Theatre by Liu taken over the last twenty-seven years including, significantly, a company group photo taken right after the 2008 fire accident. Built of a large piece of wood, Sunbeam Platform located on top of the old house, connects the new and the old buildings, at the same time, it is a free-access area for the public. Another remarkable design feature is the unadorned back curtain of the main theater stage that, when unfolded, provides a view through green tinted glass windows and across the Sunbeam Platform onto the breathtaking landscape of the Tamsui riverbank and Bail - the Company’s former home of sixteen years, as well as the site of the Wushantou(烏山頭) rehearsal studio that was destroyed by fire.
Uniquely, a carved lintel in the old house, the former Broadcasting Corporation of China, reads “Respect the Homeland, Strengthen Self (莊敬自強)” - a slogan used by the Republic of China (Taiwan) Government in response to the United Nations Resolution 2758 in 1971 that during the 1970s and 1980s was commonly used to extol the spirit of private enterprise. The lintel serves as a witness for Taiwan to this unpleasant historical moment. The former fountain located in front of the building has been removed and replaced with a huge lush green lawn. In addition, the area in front of the old house has a concrete walkway, car park, and serves as a 1,500-person capacity outdoor theater. Together with the new theater, there are four performance venues in the theater complex.
Although, the main theater only has a capacity of 450-seats, surprisingly, its stage dimensions are similar to those of the Taipei National Theater, and it is fully equipped with advanced theater technology. This coherent approach aims to facilitate the production process from rehearsal to presentation. Eventually, a performance will enjoy a seamless transition to the flagship theater in Taipei without much alteration.
劇場園區可蹓蹥竟日
A Stroll Along the Garden
2.「花語餐廳」旁荷花池上羅曼菲的雕像「旋的冥想」。 The statue of Lo Man-fei in the lotus pond near Flower Whispers Restaurant. 攝影Photo Credit: 劉振祥 Liu Chen-hsiang
林懷民將淡水的雲門劇場稱為「綠劇場」，那不僅是指劇場周邊滿是高
樹林蔭，建築融入大自然中，新建的劇場流線型的青銅屋頂，遠觀有如綠雲，青銅簷下墨綠色的鋼鐵A字型撐架，與淡綠玻璃帷幕相互映照，更是綠意盎然！
雲門劇場佔地頗廣，但劇場建築祇用了有限的面積，得以保留闊廣的空間。林懷民為此花了不少時間到中南部田尾埔里選購了二百多棵不同的台灣樹種，遍植園區各處，四季開花，此行仍可聞到桂花微香。林懷民更指著老房子牆腳已生長得頗為茂盛的攀爬植物說，園區空氣好，植物樹木都生長得很快，他相信這些植物很快便能繼續長高，將老房子冷冰冰的外牆攀滿掩去，他心目中的綠劇場很快便可出現。
劇場周邊園區內，林懷民還特意與設計師打造了三個讓人可蹓蹥竟日的「景區」。從寬敝的「日光平台」，向右邊走下寬大的階梯，首個「景區」隨即映入眼簾，以林懷民舞作《花語》為名的玻璃小餐廳，小餐廳主要以玻璃材質建構，用以採納天然光線，餐廳提供的簡餐，宣稱有台北最好吃的小籠包，世界第一名的烏龍珍珠奶茶，和新創的茶品。
餐廳前的一方荷花池，於花葉間拱托出一尊似曾相識的女舞者起舞前銅像，那可是將裝置於宜蘭的雲門二的靈魂人物，雲門早期的傑出舞者羅曼菲（1955-2006）的雕像，由作者林健成以青銅翻製的第三尊塑像，那是羅曼菲生前在林懷民為她編作的《輓歌》中，以近十分鐘不斷迴旋，表達無限哀思的裙裾迴旋造型。雕像的影子和裙裾起伏間刻意蝕空的好些小洞，不僅在陽光映照水影反射時，因角度改變而有著不同的變化，緩慢推移有如時光流轉，甚至在孔洞中會長出荷葉小花，散發出無盡的生命力。這座題為《旋的冥想》除紀念羅曼菲，亦能激發年輕舞者的想像和奮發心志！
在荷花池相隔不遠的小路旁，植有一棵老梅，那卻是1980年代林懷民母親林鄭翩翩女士親手所植的梅樹，1995年移植到八里雲門的排練場，去年亦隨著雲門新劇場的落成移植到淡水來。
第二個「景點」在遙對著老房子正門的小坡上。於百年茄苳老樹下，一幢當年可能是用作員工住宿的小房子重新設計而成的「大樹書房」，用作售賣特選書籍、明信片、文創品和雲門紀念品。沿書房後邊的戶外小樓梯可攀上書房屋頂上的陽台，可近望滬尾砲台，和相鄰的忠烈寺，在此一蔭庇在百年茄苳樹繁茂枝葉下的屋頂陽台，設置有遮陽傘的休閒座椅，慢慢品茗香茶、咖啡，和雲門特別委托釀造的日光啤酒，透過綠葉西望，仍能隱若得見淡水河上的水影。（參觀當日是星期一，「花語」和「大樹」都休息，也就未能享用餐飲、咖啡了。）
Lin Hwai-min named Cloud Gate Theater in Tamsui, Green Theater, referring not only to the abundant greenery surrounding it but also to the organic form of the theater’s bronze roof that, from afar, resembles a green painted cloud and is supported by dark green steel A-frame with a pastel green glass curtain around it creating another poetic landscape. The extensive site area of Cloud Gate Theater complex gave Lin room for planting two hundred varieties of Taiwanese tree species, all brought from the center southern part of Taiwan, Tianwei Puli (田尾埔里). They are scattered throughout the whole complex and bring a pleasant flowery fragrance to the walkways. Lin pointed to the blooming vine at the bottom of the wall of the old house and said that he believes the surrounding fresh air enhances the plant’s growth and will enable it to cover the cold concrete wall of the old house. Eventually, his ideal Green Theater will be complete.
There is a café and a restaurant, and one of the attractions is Flower Whispers, a boutique restaurant that uses natural lighting; the restaurant is constructed mainly of glass. It serves the best xiǎo lóng bāo in Taipei, award-winning Oolong bubble tea, and other menu items. In front of it is a lotus pond and standing in the middle of the pond is a bronze sculpture by Lin Chien-cheng, in memory of the remarkable performer Lo Man-fei (1955-2006); the sculpture captures her in a well-known turning movement from Lin Hwai-min’s Requiem. At the side of the pond there is a plum tree planted by Lin’s mother Mrs. Lin Zheng Pin-pin in 1980. In 1995, it was first transplanted to the previous rehearsal studio of Cloud Gate Dance Theater in Bali and was replanted in Tamsui for the opening of the new theater.